The Master of Letters in Fine Art Practice Programme at The Glasgow School of Art consists of six specialist pathways (Print Media, Sculpture, Painting, Performance, Drawing and Photography and the Moving Image). The programme is studio-based and centred on practice and is intended to provide opportunities for students to pursue in-depth subject-specific study in fine art practice at postgraduate level. Undertaken over 12 months, the Programme encourages an intensive exploration of research and development of ideas from the outset, with the focus on the highest standards of practice and personal development as artists.
The students on the Programme work within the specialisms and across them, often identifying collaborative opportunities to engage with practice across the pathways and across programmes. The Programme has a diverse mix of both national and international students, attracting applicants from all over the world. This dynamic encourages the students to build a dialogue with their peers and identify meaningful connections, many of which lead to further collaborations beyond graduation from the School.
from Similar scenery: Intertextuality between different cultures based on Ecological Aesthetics
from Similar scenery: Intertextuality between different cultures based on Ecological Aesthetics
from Similar scenery: Intertextuality between different cultures based on Ecological Aesthetics
from Similar scenery: Intertextuality between different cultures based on Ecological Aesthetics
from Similar scenery: Intertextuality between different cultures based on Ecological Aesthetics
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from Placebo
from Pile of Polyphemus
from Merging
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from Blob
from Hold/Held
from Hold/Held
from But seas between us braid hae roar’d
from But seas between us braid hae roar’d
from But seas between us braid hae roar’d
from But seas between us braid hae roar’d
from But seas between us braid hae roar’d
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from Untitled
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from The living room
from The living room
from The living room
from Lockdown with feathers
from The living room
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from The Earth Talks About Me Like I Am Not There (2021)
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from Love Bomb
from Love Bomb
from Fruit of the Womb
from Love Bomb
from Love Bomb
from 1994 Installation
from 1994 Installation
from Whole Room tour
from 1994 Installation
from Whole Room tour
from Control —— Yunqiu Li
from Control —— Yunqiu Li
from Control —— Yunqiu Li
from Control —— Yunqiu Li
from Control —— Yunqiu Li
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from ‘Conversations with My Father’
from ‘Self-Punishment as Self-Deprecation’
from ‘Substitute’
from ‘L.O.L (Lots of Love)’
from ‘Self-Punishment as Self-Deprecation’
from 2. Rubbish Container
from 2. Rubbish Container
from 3. Dream Eyes
from 4. Hidden under the leaves
from 4. Hidden under the leaves
from Ars Informatica
from Ars Informatica
from Ars Informatica
from Ars Informatica
from Ars Informatica
from ATONAL REVOLUTION
from WORKS
from ATONAL REVOLUTION
from WORKS
from ATONAL REVOLUTION
from Ballpoint Pen Drawings
from Degree Show Installation – SUMMER OF STENCH
from Degree Show Installation – SUMMER OF STENCH
from Ballpoint Pen Drawings
from Etchings
from Limited Effectiveness
from The Self-Portrait Of The Man Who Doesn‘t Really Want To Talk About it
from The Portrait Of The Woman Who Doesn’t Want To Be Called By Her Name
from Limited Effectiveness
from Me, alone in the studio with*out a view; also known as: 2020 or Nur ein Roter (Just a red one)
from Trauma Series 2
from Traumatic Encounters
from Trauma Series 1
from Trauma Series 1
from Trauma Series 1
from Part of me
from Part of me
from Monster
from Monster
from Part of me
from They might become fruitbowls
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from Non-natural Alienation
from Non-natural Alienation
from Non-natural Alienation
from Non-natural Alienation
from Non-natural Alienation
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from She’s a Sweetie
from She’s a Sweetie
from She’s a Sweetie
from She’s a Sweetie
from She’s a Sweetie
from Installation View
from Contrapposto, 2021
from Installation View
from Colpo, 2021
from Installation View